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German Monuments in the Americas
This book looks at the many transatlantic bonds which have linked and still link Germany and the United States. German immigrants to the Americas brought with them a good deal of cultural baggage. They cultivated their German heritage in their schools, churches, and clubs. They expressed pride in this heritage by erecting monuments to Goethe or Schiller, Beethoven or Wagner, Alexander von Humboldt or «Turnvater» Jahn. They claimed Friedrich Wilhelm von Steuben, Carl Schurz, Gustave Koerner, and John A. Roebling as their own. But German-born or German-trained sculptors did not limit themselves to German subjects. They also paid tribute to America by creating sculptures of Benjamin Franklin, George Washington, Thomas Jefferson, Abraham Lincoln, and others who occupy a place of honor in American history. While a few German monuments can be found in Canada and in Latin America, the number of German monuments in the United States is surprisingly large. These monuments illustrate the contribution - often overlooked or ignored - of the German-American community to American society and American cultural life.
Good Music for a Free People
A transatlantic perspective that illuminates the Germania Musical Society's crucial role in introducing a "classical," predominantly German, repertory of instrumental works into American musical life. In Good Music for a Free People, author Nancy Newman examines the activities and reception of the Germania Musical Society, an orchestra whose members emigrated from Berlin during the Revolutions of 1848. These two dozen "Forty-Eighters" gave nearly a thousand concerts in North America during the ensuing six-year period, possibly reaching a million listeners. Drawing on a memoir by member Henry Albrecht, Newman provides insights into the musicians'desire to bring their music to the audiences of a democratic republic at this turbulent time. Eager to avoid the egotism and self-promotion of the European patronage system, they pledged to work for their mutual interests both musically and socially. "One for all, and all for one" became their motto. Originally published in German, Albrecht's memoir is presented here in for the first time in translation. Nancy Newman is Associate Professor in the Music Department at the University at Albany, SUNY.
American Sculpture in the Metropolitan Museum of Art: A catalogue of works by artists born before 1865
Volume One: This volume catalogues the distinguished and comprehensive collection of approximately 400 works of American sculpture by artists born before 1865. This publication includes an introduction on the history of the collection's formation, particularly in the context of the Museum's early years of acquisitions, and discusses the outstanding personalities involved. --Metropolitan Museum of Art website.
My Fourscore Years
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From Neo-classical and Beaux-arts to Modernism
Important contributions made by sculptors whose work helped shape the history of American art in the late nineteenth and early twentieth centuries are featured here, from figurative works from late Neo-Classical marbles through the bronzes of the Beaux-Arts school into the twentieth century with the advent of modernism. This insightful overview features key works by some of the pivotal artists, including Thomas Ball, Augustus Saint-Gaudens, Jo Davidson, and Alexander Archipenko, as well as valuable examples by artists whose contributions expanded the field.The book begins with the high Neo-Classical work by Randolph Rogers, Cupid Breaking His Bow, ca. 1851, through August Saint-Gaudens and Daniel Chester French who established the standard by which the Beaux-Arts school is understood, to the turn of the century when a handful of immigrants made increasingly important modernist changes in the field of sculpture in America.This passage in American sculpture is seen to be erratic, varied and not strictly linear as the influences of Europe mixed with the independent spirit of America to forge expressions rich, diverse, and worthy of further scrutiny.
Tidewater Spirit: Cultural Landmarks, Monuments & History of Eastern Virginia
Tidewater lies east of the fall line of the Virginia rivers that flow into the Chesapeake--a definition that dates back to colonial times. Much of what we know of seventeenth- and eighteenth-century Tidewater comes from the writings of Captain John Smith, William Byrd II and Thomas Jefferson. The Virginia of Smith, Byrd and Jefferson remains, in part, our Virginia. Geography and place names are largely the same. Their accounts of what they saw, where they traveled, what's in bloom and what's ready for harvest will sound very familiar. Read their words, paired with photographer and author Bryan Hatchett's stunning photographs of Tidewater landscapes and landmarks, and experience the continuity as well as the change that time has brought to this very special place.
Sculpture Review
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Reports
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